A Memory Museum

A Memory Museum Graduation Project Studies

By: Ibrahim Jamal

Supervised By: Dr. Samir Sadek

Dr. Yousof Refaee

Dr. Mohamed Eladly Adely

Dr. Osama Alrawi

Dr. Tamir Samir

Dr. Sahar Morsy

Arch. Amr Mamdouh

Arch. Haitham Mohamed

Arch. Hanan Salah

Arch. Amany Medhat

Future University in Egypt Faculty of Engineering – Dep. Of Architecture

Table of Content Introduction …………………….……………….….……….……….5 Cases Studies ……………………………………………….….…...6 -Jewish Museum Berlin …………………………….….………7 - Timeless Cube National Museum of Afghanistan .……... 38 Site Selection ……………………………………..……..………... 50 -1st Site: (Abu No’as) …..…………………….………………. 51 - 2nd Site: (Jadriyah) ….………………………...…..……….. 55 - 3rd Site: (Kadmiyah-Aadamiyah) …….………….…….…. 59 - Site Selection Table ……………………………………..... 63 Site Analysis ……………………………………………….……...64 -Site Location ……………………………………………….. 65 -Landmarks ..………………………………………………… 66 -Site’s Dimensions ………………………………………….. 67 -Site Controls ……………………………………………….. 68 -Wind Analysis ……………………………………………… 69 -Thermal and Atmospheric Data …………………………. 70 Concept Generating Process ………………………………… 72 -My Vision …………………………………………………... 73 -The Location Importance ………………………………… 74

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-Early Concept Sketches …………………………………… 81 -Main Entrance ………………………………………… 81 -The Heritage Gate …………………………….……… 83 -3D Sculpture ……………………………………..……. 86 -Arcade Plaza ………………………………………….. 88 -Layout of the Project …………………………………. 93 3D Model Volume Studies ……………………………………… 94 -Model Generating Process …………………………………95 -Solid & Void Studies ………………………………………..97 -Interior Features …………………………………………….97 -Wind Analysis ……………………………………………….98 Project Program ………………………………………………….100 -Sector One ………………………………………………….101 -Sector Two ………………………………………………….101 -Sector Three ……………………………………………….102 -Sector Four ………………………………………………...102 -Sector Five …………………………………………………102 -Gallery ………………………………………………….......103 -Services Floor ……………………………………………..103 -Shops ……………………………………………………….104 Time-Line Events ……………………………………………….105

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The Five Sectors …………………………………………….106 -1st Sector ………………………………………………. 107 -2nd Sector ……………………………………………….117 -3rd Sector ……………………………………………….122 -4th Sector ……………………………………………….125 -5th Sector………………………………………………. 130 Other Components of the Building …………………….. 133 -The Gallery …………………………………………… 134 -The Shops ……………………………………………. 135 -Services Floor ………………………………………... 136 Technologies Used In The Project …………………….. 137 -The Pavegen Tile ……………………………………. 138 -Holographic Technologies ………………………….. 144 -EyeLiner™ ……………………………………… 145 -FogScreen® ……………………………………. 147 Submissions ……………………………………………….. 150 -1st Submission ……………………………………….. 151 -2nd Submission ………………………………………. 154 -3rd Submission ………………………………………. 156 -4th Submission ………………………………………. 161 -Final Submission ……………………………………. 166 References ……………………………………………..….. 172

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Introduction

Since 1980 Iraq have been suffering from wars with neighbor countries, foreign countries, and within itself as a civil war for a couple years that still happening until now..

What I want to do is make a symbolic museum called A Memory to record what happened there and create an experience that let people feel and experience how people lived in Iraq for those years An iconic place that shows that we can always overcome the sad bad days and help us move on to brighter future.

To show the unity of the Iraqi people as a one within the diversity of the many cultural differences.

To see our mistakes and learn from our past and make a better environment for us and the future generations.

To see our mistakes and learn from our past and make a better environment for us and the future generations.

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Cases Studies

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First Case: Jewish Museum Berlin

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About The Project The Jewish Museum Berlin, which opened to the public in 1999, exhibits the social, political and cultural history of the Jews in Germany from the 4th century to the present. The museum explicitly presents and integrates the repercussions of the Holocaust.

The new design, which was conceived in 1988, a year before the Berlin Wall came down, was based on three conceptions that formed the museum’s foundation. First, the impossibility of understanding the history of Berlin without understanding the enormous intellectual, economic and cultural contribution made by the Jewish citizens of Berlin. Second, the necessity to integrate physically and spiritually the meaning of the Holocaust into the consciousness and memory of the city of Berlin. Third, that only through the acknowledgement and incorporation of this erasure and void of Jewish life in Berlin, can the history of Berlin and Europe have a human future.

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Competition Brief COMPETITION Extension Berlin Museum with Division Jewish Museum-Berlin CLIENT Land Berlin URBAN DESIGN OBJECTIVES Historical ground plan Relationship to LindenĂ&#x;trasse Connection to Kollegienhaus, Minimization of above-ground construction volume DESIGN TASK The need for museum expansion is due to a lack of functional exhibition space, specify cally for the Jewish Museum department, and a necessity for storage areas in the museum as storage is currently outsourced.

EXPANSION PROGRAM Permanent collection showrooms Temporary exhibition space Public spaces Storage areas Administrative (offices, meeting rooms, workshops, etc.)

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Architect: Daniel Libeskind Client: Land of Berlin Senate Bureaus of Building Residence and Transportation Senate Bureau of Science, Research, and Culture STATISTICS Gross Floor Area: 15,500 sq. m.

Net Area: 12,500 sq. m.

Exhibition Space: 9,500 sq. m.

Offices, Workshops, Library: 2,500 sq. m.

Depots: 2,000 sq. m.

Competition Result: June 1989 Ground-Breaking Ceremony: November 1992 Topping-Out Ceremony: May 1995 Completion: January 1999 In the summer of 1989, only a few Months before the fall of the Berlin Wall, the international jury for the competition awarded first prize to the design submitted by Daniel Libeskind

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“THE OFFICIAL NAME OF THE PROJECT IS THE ‘JEWISH MUSEUM,’ BUT I HAVE CALLED IT ‘BETWEEN THE LINES’ BECAUSE FOR ME IT IS ABOUT TWO LINES OF THINKING, ORGANIZATION, AND RELATIONSHIP. ONE IS A STRAIGHT LINE, BUT BROKEN INTO MANY FRAGMENTS; THE OTHER IS A TOTOROUS LINE, BUT CONTINUING INDEFINITELY.” Libeskind’s Approach Daniel Libeskind formed three basic ideas which formed the foundation for the Jewish Museum design. “First, the impossibility of understanding the history of Berlin without understanding the enormous intellectual, economic, and cultural contribution made by its Jewish citizens. Second,

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“I DRAW FROM MY OWN EXPERIENCE — IT’S WHAT I KNOW — AND IN DOING SO, I STRIVE FOR A UNIVERSALITY.”

Daniel Libeskind

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The Distorted Star of David The unique form of Libeskind’s museum extension and its dramatic façade are not excluded from the same historical and poetic drivers that determined the interior spaces and their progression.

The architect claims that the building’s footprint was created through the slicing and fragmentation of the Star of David overlaid on the plan of Berlin - however, this connection is not very evident and difficult to back up.

It is much easier to draw parallels to Libeskind’s earlier work - in particular, the drawings he had produced during the 80s - and the connection to Bernard Tschumi and his “Architecture of Disjunction,” or disjointed formality.

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Aside from Libeskind’s own personal preconceptions for architecture, there are no doubt other factors that relate to the iconic form that was eventually realized. One, at least on the purely aesthetic level, projectthat comes to mind is Michael Heizer’s Rift a zigzag shaped trench dug out in the desert at Jean Dry Lake, Nevada in 1968.

It is interesting to speculate the role of Heizer’s project in its relationship to the entirety of architectural discourse during 1968, when the roots of so called “deconstructivist” architects began to take hold – specifi cally regarding Bernard Tschumi and the beginnings of his thesis on “architecture and disjunction.”

The form of the building also relates to the surrounding site and its relationship to the streets that bind the exterior grounds. By allowing the form to twist and fold back on itself in plan, it is able to produce courtyards within its own boundaries, such as the Paul Celan Court [Figure 5.3] - one of two courtyards that are formed off of the narrow space between the Baroque building and the museum extension. This particular courtyard design is based on a Berliner “Hinterhof” in its height and dimensions, resembling the typical courtyard layout of Berlin’s early apartment buildings

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Underground Level

Ground Level

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First Level

Second Level

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Third Level

Roof Level

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The Façade as a Map One of the most notable and recognizable aspects regarding he façade of the museum extension are the strip windows that slash through the zinc panels, projecting dramatic displays of light onto the walls of the building’s interior, and allowing fleeting glimpses of the city as one looks moves through the exhibition spaces. The design and placement of these slashes appear to be random at first glance, but as is the case with almost everything in Libeskind’s work, their arrangement, too, has a story to tell.

By acknowledging the historicism that is ever present throughout this project, the architect 19

decided to treat the skin of the building as a physical, materialized diagram of the city’s past. They are generated by first located the street addresses of great figures in Berlin Jewish history. He located the former residences of Heinrich von Kleist, Heinrich Heine, Mies van der Rohe, Rahel Varnhagen, Walter Benjamin, and Arnold Schönberg.

By then connecting these addresses through lines that bisect the site, and projecting those lines onto the building’s skin, the apparently arbitrary fragmentation of the building’s façade is, in effect, a map of Jewish history within Berlin.

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Façade Construction The construction of the building’s faćade may be one of the more complex faćades of its time. The zinc cladding was cold-formed on site and soldered in place though vertical paneling utilizing a standing seam joint. Rheinzink, a now prominent faćade and roof consulting company, launched their career from their work on this project. In most cases, as the faćade is punctured, the zinc panels actually stick up past the penetrations in order to preserve the fl at and sleek nature of the building’s exterior, as well as to create a shadow line and reinforce the severity of the sliced windows.

The walls of the museum structure the entire building, eliminating the need for columns or interior load bearing walls and allowing for a free museum plan. Steel reinforced concrete was cast-in place to create the structure. There had to be coordination between the slicing of the faćade and the need for structural integrity, as the slices were actually cast as voids in the initial pouring of the concrete structural walls This also required unique methods in pouring concrete, as the each entire wall had to be poured in place, as well as to completely encase the window molds on the first try,6 and to make sure that the extreme angles produced would not chip or crack as the forms were removed.

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Concrete construction around the slashes

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Façade Distortion One last feature of the façade that will be discussed is the shape of the zinc panels that comprise the building’s skin.

Although the seams between the panels run perfectly vertical and parallel to one another, the horizontal seams are skewed.

This effect begins to create the illusion that the exterior wall is not actually perpendicular to the ground, but rather is tilted out of plane. This illusion is especially strong when one looks closely at the intersection of the parallel seam edges and the horizontal roof edge. This distortion works very similarly to the way Libeskind disorients the occupant of the Garden of Exile and Emigration – through skewed lines and the use of optical illusions.

This sort of detail invokes a “disjunctive architecture,” and once again the work of Tschumi finds relevance in this project.

Tschumi’s design for Columbia University’s Alfred Lerner Hall, also completed in 1999, uses a very similar technique in the application of its façade.8 Through tilting various elements that comprise the glass façade, Tschumi designs an optical illusion quite similar to the one designed by Libeskind - where one no longer understands what lies parallel to the ground - but adds the element of depth, as one can see through the skin of the building and into circulation and interior spaces.

Again, the work of these two contemporary architects appears conceptually intertwined through ideas of distortion and disconnection.

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“THE JEWISH MUSEUM IS BASED ON THE INVISIBLE FIGURES WHOSE TRACES CONSTITUTE THE GEOMETRY OF THE BUILDING.” Daniel Libeskind 24

Enter through the Kollegienhaus

Stairs down to Underground Level

Axis of Exile/Garden of Exile+Emigration - Axis of Continuity/Stair of Continuity

First Level

-

Stairs to Ground Level

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The Three Axes

Second Level

Ground Level

Axis of the Holocaust / Holocaust Tower

Stairs to First Level

Interior Voids

The Entrance Staircase +

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The Three Axes The docile, conservative relationship between the interaction of the two buildings ends once one enters the interior of the Kollegienhaus. The entrance to the museum’s extension is much more intense, as a staircase violently punctures the Kollegienhaus’ interior and leads down three stories underground to the three axes of the extension. The contrast of materials, form, and light are immediately present through an extreme physical juxtaposition as one is led out of historical Berlin and thrust into the dark and uncomfortable past of German Judaism.

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The three axes represent the major experiences in German Judaism: exile, holocaust, and continuity. The first two axes run off of the main axis, embody the feeling that they are closing up as one follows them to their respective termination points, as the floors of these paths are inclined with the ceilings remaining constant, invoking more uncomfortability still.5 Their respective deadends are also burden with emotional and philosophical references, as the architect immediately calls to attention the physical and psychological fates of Jewish Berliners during the Holocaust.

The main, third axis, however, allows a point of escape, as well as symbolizes the attempt for the city to move on from its heinous past.

The program at this level is mostly exhibition space, with some auxiliary and circulation spaces intermixed, as well as the location of the Rafael Roth Learning Center. The axes are one of the main organizing spaces of the museum’s extension, however, they are kept completely invisible from the exterior of the building. They allow for the unfolding of Libeskind’s poetic vision, as multiple routes may be taken before one is able to escape from the underworld and pass into the present day.

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The Holocaust Tower The first axis that we will discuss is the Holocaust Axis, which terminates at a black door, behind which lies the Holocaust Tower As has been discussed throughout this book, Libeskind’s poetic concept manifests itself throughout every aspect and detail of his work extending, in this case, even to its documentation. If one looks closely at this photograph of the Holocaust Tower, the faint outlines of museum visitors are visible – a product of the long shutter speed required for the photograph’s exposure.

However, these faint outlines are also indicative of the ghosts of the Holocaust, the very victims that this branch of the museum’s progression is designed to commemorate.

This void is a free-standing bare concrete structure that is set apart from the rest of Libeskind’s extension.

The tower is representative of the exterminated victims of the Holocaust, and is several storeys tall, forming a pentagonal plan, which is enclosed, unheated, and entirely empty, with the exception of a cleverly hidden fi re stair and a small window at its top. A sharp beam of light enters the space from above, and the sounds of the city are faintly audible as one occupies this physical dead-end space.

Minimal connection to the outside world is available from here, and one is left to retrace their steps back to the three underground axes from which they came. The black door also acts as a foreshadowing device for the experience it guards - allowing neither visual nor physical continuity to the space which exists behind it.

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The Hoffmann Garden of Exile and Emigration The second of the two deadend axes is the Axis of Exile, which terminates at a glass door, behind which lies the Garden of Exile and Emigration.

This termination point is representative of Jews who fled Germany, and the false sense freedom they experienced.

The garden is comprised of forty-nine concrete pillarsarranged in a 7 x 7 grid. Forty-eight of the pillars represent the birth of Israel in the year 1948, and is filled with the soil of Berlin. The central forty-ninth pillar is filled with the soil of Israel, and represents the Berlin itself. An underground irrigation system allows for willow oak trees to grow from the columns and intertwine above the garden.

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The square that these pillars are located on is tilted in two directions to create a double ten degree slope, so that the viewer is always off balance.

The garden is surrounded by rose arbor, the only plants permitted in ancient Jerusalem, which symbolize life and have the ability to both injure and reconcile. The spiny locusts within the garden represent the paradisal Garden of Eden through a modern lens.

This garden, however, although open to the surrounding city visually, is, like the Holocaust Tower, a termination point. Although one feels freed from the roots of the underground axes of the museum, they are not free to go, and need to return back into the uncomfortable spaces from which they came.

There is an egress ramp that leads out of the garden; however, it is visually disconnected from the garden’s underground entrance, as well as from the street, in order to preserve the experience designed for – that of a physical dead-end. The detailing and design of this egress route, like the fire-stair in the Holocaust Tower, are examples of how conceptual designs can be preserved in the face of building codes and other political limitations.

As with the black door leading into the Holocaust Tower, the threshold from the axes to the garden is also indicative of the experience that lies beyond it, as the glass door allows a visual connectivity to the outside city, but not a physical one.

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The Stair of Continuity There is only one axis that leads to the museum and escapes from the harsh, dark, uncomfortable space of the three axes: the Axis of Continuity, which leads to the grand Stair of Continuity The movement up into the museum extension is a classic play of scale and light, moving the subject from a dark and tightly enclosed space into a large, naturally lit one signifying the subjects’ escape from the underground, and the continuation of Berlin’s history from the dark, and murky depths of its past.

The staircase appears very modest from the axes, but that perspective changes once the subject begins to ascend them.

The brightly lit vertical space that the stairs open into runs the entire height of the structure, producing a space unlike any other in the building. The large, concrete structural members which span the triple-high space are viewable one by one as the subject ascends the stairs.

However, when looking back down at the path one had taken, one is able to see all of the structure at once, and the way they appear to be crumbling - as if the space is collapsing upon the subject as they escape into the light above.

Unlike the previous two axes - both of which terminate behind a door in some symbolic space - there is no barrier between the Axis of Continuity and the grand stair that leads into the museum this path is connected both visually and physically to the outside city. As one ascends these stairs and up from underground, they are able to view the city through the dramatic sliced windows of the extension’s façade, and continue through the museum’s permanent collections.

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The Interior Voids The last of the formal moves that Libeskind makes to be discussed are the six interior voids that run linearly throughout the building, lit only from skylights at the roof level.

The first two of these voids physically connect the roof to the exhibition spaces located underground in the space created by the intersection of the three axes further adding to the torturous feeling of entrapment beneath the earth, as one is able to physically occupy these spaces and look upward to the light above, but not physically escape through these vertical piercings.

When looking at the building’s ground level plan, one can tell that the fi rst interior void shares the same pentagonal plan as the Holocaust Tower, while the second interior void has a plan synonymous with the plan of the tower that houses the stairs connecting the Kollegienhaus to Libeskind’s extension, which itself pierces the Baroque structure up to the roof level. The Holocaust Tower and stair tower appear as outposts to the museum’s extension, as one is free-standing within the outer world (present day Berlin) and the other is enveloped in Germanic history (the late Baroque courthouse).

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The only other void which is able to be physically occupied is the sixth, which is called the Memory Void. Within it is the Shalechet installation by Menashe Kadishman. The installation is comprised of thousands of clay faces covering the floor, and one is forced to

pass through the void and to walk on the

Shalechet installation in the Memory Void

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Second Case: Timeless Cube National Museum of Afghanistan

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Timeless Cube National Museum of Afghanistan

By: Matteo Cainer Architects Ltd Project Info: Location: Kabul, Afghanistan Client: Islamic Republic of Afghanistan/Ministry of Information and Culture Program: Master planning, National Museum Complex Area: 17,126 sqm Museum complex

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The new Timeless Cube National Museum of Afghanistan

by MCA architects, awakens the nation’s cultural heritage through powerful symbolic references, where physical fragments and traces inform us of its past.

The construction of the Afghan museum celebrates the richness of Afghanistan’s cultural heritage and the spirit of its peoples. In a nation devastated by war, the wealth of its cultural background and the spirit of its peoples are embodied here. In spite of the years of conflict and turmoil, the underlying strengths of the country remain intact, embedded in the earth and rising from it.This concept is well illustrated in the ‘negative spaces’ of the artist and sculptor Rachel Whiteread that highlight the memory of an object, rendering the invisible visible through a reversal of solid and void. Here this ‘absent presence’ is found in the day-lit foyer, a tranquil and serene space filled with water and greenery.

Entering the main hall, each visitor defines their own experience of the museum, ascending the monumental stairs from the foyer

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at its heart, aware of the depth of knowledge expressed in the deep recesses of its masonry walls.

If the façade acts as a reflection of our society today, then the monolithic walls embody our history and culture. As if hewn from solid stone, the galleries bring to mind the very origins of space and knowledge. Each of the country’s eight significant historic periods is represented in a dedicated space designed to house representative artefacts. A perambulation through this sequence of spaces unfolds a voyage of learning and discovery. Carved ramps and stairs overlook the foyer with the sequence of galleries unfolding in an intriguing and complex geometry.

The new museum’s 56 meter square cube represents the significance of 7 and 8 in Islamic culture. There are seven verses in the Koran, here representing rebirth, and eight principal galleries in the program, the indeterminate open sky acting as a metaphor for the future.

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The site geometries and composition define the garden setting with a series of water features designed to refresh the air during the summer months. The orientation and planning of the museum introduces cool, shady areas for outdoor promenades, and the landscaping strategy enhances on-site bio-diversity and shaded meeting areas. The museum’s gardens respond to the intense climate of Kabul and include native grasses and indigenous plants. Landscaping includes a stepped garden with covered seating areas and additional dedicated spaces for the museum’s educational programs, including tours, garden lectures and outdoor performances.

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A sustainable environmental concept determined the orientation, layout and design of the building envelope. The exposed concrete envelope introduces the required thermal mass, and the natural/displacement ventilation and highly efficient lighting systems reduces the overall energy consumption and provides a passive internal environment. Above the main foyer, digitally controlled external sunshades respond to protect the interior from the intense solar gain, reducing cooling loads internally. The orientation and inclination of the building allows controlled daylight internally with the potential for solar harvesting technology and a renewable energy supply. Internal heating and cooling is achieved through boreholes/earth tubes or crypt cooling, allowing air to circulate through large diameter underground pipes that discharge internal heat build-up via a stack. Materials are generally specified to be sourced and fabricated locally.

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Efficient use is made of the rainfall and humidity in the winter months. The soft landscape acts as a filter to collect and store rainwater for irrigation and grey water use and the fragmented form of the envelope acts as a natural purifier that provides potable water for the complex.

A future extension to the museum is considered in the concept design and planning, so that additional storage areas and communicating spaces can be successfully added. A twinned volume extension to the existing building is envisaged, with visitors following a mirrored circulation route, descending through the galleries from above.

The Timeless Cube embodies the strength, pride and traditions of the Afghan people, providing visitors with better understanding of the country. The new landmark will be a stage for debate and reconciliation through an educational program that creatively engages people of all ages in traditional and non-traditional learning. The history, identity and traditions of its peoples will provide the bedrock for future generations to understand the culture of their forefathers and a unity in the region.

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45

46

47

48

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Site Selection

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First Site Abu No’as st.– Karradah – Baghdad – Iraq

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Iraq

Baghdad

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Baghdad

Karradah

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Abo No’as St.

Area: 43,250 sqm

Site Pros: The site in a very commercialized street that is very famous in Iraq and a destination for many people to enjoy their time with the lovely open parks and the famous restaurants of fish that have their own way of cooking “Maskoof” A very nice place to have this project that have a great connection with all of Baghdad and it’s near downtown.

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Second Site Jadriyah –Baghdad-Iraq

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Iraq

Baghdad

56

Baghdad

Jadriyah

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Jadriyah

Area: 48,000 sqm

Site pros The site is in a very great neighborhood that isn’t crowded like downtown but still very commercialized and a destination for families and many people to have a nice day and in the weekends.

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Third Site (Kadmiyah-Aadamiyah) – Baghdad – Iraq

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Iraq

Baghdad

60

Baghdad

Kadmiyah-Aadamiyah

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Kadmiyah-Aadamiyah

Site Area: 133,544.41 sqm

Site Pros The site is in an island between Al-Aadamiyah (a sunni majority) and Kadmiyah (a shi’a Majority) The project will be a symbolic link between the two cities.

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Site Selection

Abu No’as

Jadriyah

Kadmiyah-Aadamiyah

Accessibility

9

8

4

Safety

8

8

8

Topography

7

9

6

Symbolism

2

1

10

Views

7

4

8

Shape

7

9

4

Price of land “more points less money”

3

5

7

Future Extension Availability

5

8

8

Concept Relation ”historical value”

3

1

10

Nearby Tourism Sites

8

1

10

Nearby Hotels

10

5

8

Total

69

59

83

Properties \ Sites

The Chosen site is A’adhamiya – Kadhimiya island.

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SITE ANALYSIS

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Site Location

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Landmarks Landmarks of the city and accessibility to airport and downtown and important places in Baghdad

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Site’s Dimensions

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Site’s Controls

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Wind Analysis

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Thermal and Atmospheric Data Average min. & max Temperatures in Baghdad

Average monthly sunshine in Baghdad

Average relative humidity in Baghdad

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Average wind speed in Baghdad

Average precipitation (rain/snow) in Baghdad

Average rainy days (rain/snow) in Baghdad

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Concept Generating Process

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My Vision

To go back in Time, to be in that spot...

To feel how the felt, to Fear what they feared...

To travel back in time to see how it was, and hope for a better Future.

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The Location Importance The Location of the project is on a small island between A’adamiyah (Sunni Majority) And Kadhumiya (Shi’at Majority) The project will be a symbol of the unity and love of all Iraqis and would work as a reminder of our love and respect to our country, culture, and each other.

The Outline of the project was taking from the river between A’adhamiya and Kadhumiya.

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The outline of the project show’s a one continuous form that presents Iraq.

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However, after the invasion of Iraq in 2003 everything have changed.

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The one block has been broken and the unity was no-more. And it gets to a point that there’s barely any connection to keep it together.

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Yet, there’s always hope and good spirits that works to keep the one... One.

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Even though every group are taking their own way yet still goes in the same direction to come together at a place. To unite again.

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To rise and overcome the past..

To show the world that Iraq will always be One.

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Early concept sketches

Main Entrance

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Early concept sketches

Main Entrance The Main Entrance Area in front of the museum.

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Early concept sketches The Heritage Gate

Front View All of ethnic groups that make Iraq are lifting the big gate.. that is Iraq

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Early concept sketches The Heritage Gate

Side View

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Early concept sketches The Heritage Gate

3D Shot 85

Early concept sketches Iraqis Lifting Iraq

3d Sketch

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Early concept sketches Iraqis Lifting Iraq

3D Shot

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Early concept sketches Arcade Plaza

Conceptual Layout

88

Early concept sketches Arcade Plaza

3D Studying Sketch

89

Early concept sketches Arcade Plaza

3D Sketches 90

Early Concept Sketches Arcade Plaza

Conceptual Section

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Early Concept Sketches Arcade Plaza

3D Shot

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Early Concept Sketches Layout of Project

Shape of building taken From “Dijla River” between A’dhamiyah and Kadhimiya.

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3D Model Volume Studies

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1st Model From “Dijla” River Lines

Cutting between buildings 95

Under the buildings

1st startup model

96

Solid And Void

Interior Features 97

Wind Analysis

Wind types

Hot Wind 98

Fountain

99

Project Program

100

Memory Museum 20183

The Museum 1665

Sector One main hall 1st sector hall tickets brochures information desk W.Cs

240 1185 75 5 40 120

Sector Two main stairs stairs Storage

1198 1175 11 12

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Sector Three

990

main hall

660

open areas

200

WCs storage Stairs

110 8 12

Sector Four Path 1 Path 2 Path 3 outdoor space

1560 400 700 380 80

Sector Five main hall ( The Maze) holographic spaces resting Area security WCs Stairs mini bar

4615 2400 1250 650 80 70 90 75

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Gallery main hall seating area separated entrance information desk security

2925 2000 450 250 25 80

Stairs

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WCs

80

Services Floor entrance open floor offices manager office Human resources cafeteria library Events Planning Media & Public Relations servers room Meetings Room Workshops VIP Guests Room coordinators WCs Accounting Services Maintenance

2295 150 450 30 90 90 300 160 150 100 110 100 80 115 125 75 30 30

Security

80

Storage

30

103

Shops Shopping Area x 4 seating area entrance Hall information desk security Vertical Circulation WCs x4 Manager Accounting Services Maintenance Cafeteria Casher

4935 3000 750 500 25 100 150 200 30 30 25 25 50 50

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Time-Line Events The museum was designed as a time-line of major events that Iraq went through, it is divided into 5 sectors of time, each sector taking a few years to show the people what happened in that period.

The time-line will be from 1990-2015 And the project will have a future extension possibility to complete the story.

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The Five Sectors

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1st Sector 1990 - 1997 The first experience in this sector will be the low light with stairs going up with handrails that feel like prison cell bars.

On the walls 1500 cylinders reflects the 1.5 million people that died in Iraq because of the sanctions by the U.N council that prohibited trades with Iraq (including food and medicine).

Every one thousand names will be written on a vessel (cylinder).

The stairs starts get narrower by going up and getting closer to the end of the stairs (and the end of the sector).

"A symbolic opening going to the ceiling" Using different lighting around the cylinders presenting the innocents souls suffering who have died.

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1st Sector Plan

Prison Bars 108

1st Sector

Prison Bar at entrance

109

1st Sector

3D Shot Entering the museum is like entering Iraq in 1990, it’s a prison for those who are inside.

The whole country was isolated from the rest of the world.

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1st Sector Destruction

Early Sketch for visualizing the 1st Sector

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1st Sector Destruction

Plan 112

1st Sector

Destruction Presenting the 1990 bombing by blocks falling from the ceiling And the destruction by the cutting from the building and the glassy prism that’s reflecting outside and inside through it 113

1st Sector

1500 cylinders

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1st Sector 1,500,000 Souls

Plan 115

1st Sector 1,500 Cylinders

3D Shot 1,500,000 souls presented by 1,500 cylinders.

Each cylinder will have 1000 names of the people that died.

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2nd Sector 1998 - 2002 1998 the U.S & the U.K Bombed Iraq targeting many places in Baghdad, many civilians were victims that died in this operation (desert fox operation).

Plan

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2nd Sector 1999 The Shi’at ethnic group in Iraq protested the death of a shi’at leader “Mohammed Al-Sadder” There were clashes between the police and the protesters.

Plan

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2nd Sector 1999

3D Shot Protesters

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2nd Sector 1999

Glass opening looking at Al-Kadhum Masque in AlKadumiya A sanctuary place for Shi’at Iraqis.

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2nd Sector 2001 Another attack on Iraq by the U.S that left many innocents dead

Plan

121

3rd Sector 2003 WAR Some people felt it was an occupation of Iraq, others saw it was the liberation of Iraq.

However you feel about it chose your way through the holographic planes bombing and the tanks and the MVs going through the people.

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3rd Sector

Taking the hard way (the stairs) means you saw it as an occupation.

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3rd Sector Taking the easy way (under the block) means you saw it as liberation

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4th Sector 2004 - 2007 Paths

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4th Sector After the war some people rose to power and stepped on other people

126

4Th Sector Others got stepped on

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4th Sector And some were lucky to survive this period without being encountering with all of this.

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4th Sector

Section

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5th Sector 2008 -2015 Maze Many terrorist groups came to Iraq from different backgrounds and trying to use religion as an excuse to kill a lot of people.

During this time Iraq is going through a very hard time of not knowing where and who is the enemy, and why are they doing this exactly.

130

5th Sector

The walls of this maze are showing major events of good and bad things that happened

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5th Sector

At the end of the tour a circular opening bringing light, presenting a hopefully future

The idea here was taken from a poem that says ‫ُ َوال ِعراقُ​ُ ِعراقي‬..ُ‫ال َشمْ سُ​ُ َشمْ ِسي‬ ْ ُ‫ّرُالد َّخالءُ​ُ ِمن‬ ‫أخالقي‬ َُ ‫ماُ َغي‬ 132

Other Components Of The Building 133

The Gallery

134

The Shops

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Services Floor

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Technologies Used In The Project

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The Pavegen Tile

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Pavegen have developed a plug-and-play installation system and the technology can be installed in both indoor and outdoor environments. The technology can be daisychained together, with all cabling running through the tiles to prevent running multiple-conduit channels.

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Data – interconnectivity with surrounding devices.

Machine to machine control.

Analytics – the tiles can collect and communicate realtime footfall data for analytics, information on pedestrian movements and even social media updates.

Customizations – easily branded surfaces and a range of textures to fit into high-end retail, transport and public realm works.

CE Testing & Durability – the technology has been tested to withstand over 20 million footsteps and extreme weather conditions. The tile even works submerged underwater at a depth of 1.5m.

Plug & Play – each tile can be daisy chained to the next tile and all wiring runs through the tiles themselves.

Smart Power – the tiles can harness the energy from footfall to power applications directly, or store the electricity for later use.

Deployable Power – Pavegen generates power when other renewable energies can't, like solar panels during cloudy days or sand storms that could make problems with solar panels and need constant cleaning.

Materials – the top surface of the tiles uses up to 100% recycled rubber, from old truck tires. Some base models use a 50-50 mix of virgin and recycled rubber.

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The Pavegen Installation Preparing the site

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The Pavegen Installation

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Future Possibilities

Total Bridges surface Area 42238.73 143

Holographic Technology

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EyeLiner™ Eyeliner is the core of our technology, with its imagery often referred to as a hologram. A 21st century twist on a Victorian theatre trick, the Eyeliner utilizes a technique called Pepper’s Ghost. The visual effect is created through thier holographic projection system.

Famously used to bring back on stage the late rapper Tupac Shakur at Coachella festival, millions worldwide were wowed by the Tupac illusion.

The specialist foil, invisible to the naked eye, is suspended across the stage, creating a life-like 3D image. Using clever lighting, the result is a convincing, realistic effect.

Eyeliner systems are tailor made – so let us know your vision.

Together, we will create solutions that will truly captivate your audience.

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Permanent installations While more dynamic one-off events have their place, Eyeliner systems can be permanently installed around the world.

Perfect for museums, visitor attractions, business communication, retail, point of sale – permanent Eyeliner installations can fit most locations, match any branding and bring your content to life.

Eyeliner technical specifications A standard Eyeliner unit is 6m wide x 6m deep with 4.5m being the standard height. The unit can be designed as wide as you want, depending on your requirements. It is possible to provide a unit up to 8m high. Every Eyeliner setup is bespoke, so we recommend to give us a call if you need something outside our standard setup.

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FogScreenÂŽ This company uses multiple projectors to project 3D Images on fog (working as an invisible screen)

The idea is to have multiple FogScreens to create a 3D holographic moving model

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FogScreen®eMotion The 2.40m wide New Generation FogScreen®eMotion is the perfect solutions for permanent or non-permanent installations in the entertainment sector. it is virtually drip-free. eMotion is their so called plug and play model, i.e. the easiest FogScreen to install, use and maintain because it’s been designed with a compact body structure incorporating all the elements into the main screen housing. One power plug and one water line is all that’s needed to connect the screen and start wowing people.

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Technical Details Unit dimensions: Width 240 cm (7.9 ft), depth 59 cm (1.9 ft), height 60 cm (2.0 ft) Projection surface: Width 220cm (7.3ft) Weight: 180 kg (400 lbs) Power requirements: Voltage: 100-240 V, 10-20 A Power consumption: 2,2 kW Water consumption: 6-10 l/h Operating temperature: Normal room temperature, designed for indoor use. The operating temperature range is +5 to +40 °C Controls: User interface in the unit , IR control, DMX-512 control

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Submissions

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1st Submission 4th week Poster 1 Program, Bubble Diagram, Zoning and Concept

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1st Submission 4th week Poster 2 3D Conceptual Shots

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1st Submission 4th week Poster 3 Site Analysis and Studies

153

2nd Submission 6th Week Poster 1 Plan

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2nd Submission 6th Week Poster 2 3D Conceptual Shots

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3rd Submission 8th Week Poster 1 Museum Plan

156

3rd Submission 8th Week Poster 2 Master Plan

157

3rd Submission 8th Week Poster 3 Elevations

158

3rd Submission 8th Week Poster 4 3D Shots (Interiors/Exteriors)

159

3rd Submission 8th Week Poster 5 Sections

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4th Submission 14th Week Poster 1 Museum Plan

161

4th Submission 14th Week Poster 2 Master Plan

162

4th Submission 14th Week Poster 3 Elevations

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4th Submission 14th Week Poster 4 3D Shots

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4th Submission 14th Week Poster 5 Sections

165

Final Submission 12/July/2015 Poster

166

Final Submission Site Analysis and Concept Generating Process 3D Exterior / Interior Shots

167

Final Submission 3D Shots

168

Final Submission Elevations

169

Final Submission Layout and Sections

170

Final Submission Plans

171

References : Sites images courtesy of Google Earth https://www.behance.net

http://en.wikipedia.org/wiki/Jewish_Museum,_Berlin

Stephen Andenmatten Book about Jewish Museum Berlin https://www.youtube.com/user/jewishmuseumberlin

http://daniel-libeskind.com/

http://www.jmberlin.de/site/EN/

http://wordlesstech.com/2012/10/15/timeless-cube-nationalmuseum-of-afghanistan-by-mca-architects/

http://www.matteocainer.com/

http://www.weather-and-climate.com

http://pavegen.com/home

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https://www.youtube.com/watch?v=AXhGfkGh4vM

http://www.fogscreen.com/ https://www.youtube.com/watch?v=QymJz36LxXE

Last time accessed in 12/July/2015

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